Luis de Pablo (28 Januray 1930 – 10 October 2021)

Querido Luis, desde el cariño, desde la admiración y con una profunda tristeza nos despedimos de ti, en las siguientes líneas se puede leer toda su extraordinaria trayectoria musical y personal pero no queríamos dejar para el final, lo que sin duda era lo más importante en él, su gran corazón, su carisma y su maravillosa personalidad. Descanse en paz.
«Luis de Pablo no sólo es la figura destacada de la escuela española contemporánea, sino también uno de los primeros compositores que han llevado la música española fuera de las fronteras de su estricto nacionalismo, dándole una entonación universal, sino que también es uno de los más Figuras destacadas del panorama musical internacional, gracias al impulso que ha dado a las técnicas innovadoras y, sobre todo, gracias a las originales soluciones que ha creado para expresar un temperamento excepcionalmente inventivo y poético. En esta investigación, en efecto, el hombre siempre está detrás de su música, como una presencia natural y querida para él ».
(Claude Rostand)

Campeón de la música española de vanguardia y gozando de un indiscutible prestigio internacional, Luis de Pablo ha vivido muchas temporadas complejas en la historia civil y musical de su país y de Europa occidental, proponiendo una original interpretación del material sonoro, una peculiar elaboración caracterizada por una gran libertad y una voz individual fácilmente reconocible. Nació en Bilbao en 1930 y estudió música desde muy joven. Se licenció en Derecho por la Universidad Complutense de Madrid y empezó a trabajar como abogado, mientras crecía su interés por la música contemporánea, lo que le llevó a la finalización de sus estudios musicales y a sus primeras experiencias autodidactas en composición. Tras dejar definitivamente la abogacía, en 1958 cofundó con Ramón Barcé el grupo «Nueva Música», en el que también participó Cristóbal Halffter, y se dedicó activamente a la difusión de la música de hoy, dedicándose en particular a la difusión. de las obras y el pensamiento de la Segunda Escuela de Viena. Fundó el ciclo de conciertos «Tiempo y Música» (1963), la Primera Bienal de Nueva Música de Madrid (1964), el grupo «Alea» y el primer estudio electroacústico de España (1965): un paso crucial para ayudar a su país para superar el aislamiento cultural al que lo había forzado el franquismo. A principios de los años 60 estuvo en Darmstadt, donde sus obras fueron estrenadas por Maderna y Boulez, y en París, donde estudió con Max Deutsch, alumno de Schœnberg, moviéndose entre el serialismo y la música aleatoria. Reconocido a nivel internacional a ambos lados del Atlántico, en 1972 organizó los “Encuentros de Pamplona”, un festival interdisciplinario que desató una acalorada polémica. Por lo tanto, buscó el exilio en los Estados Unidos, donde enseñó en la Universidad de Buffalo y en Canadá (profesor en Ottawa y en Montreal), regresando finalmente a España tras la muerte de Franco. En los años 80, que se inauguró con numerosos reconocimientos internacionales por su 50 cumpleaños, combinó diversos roles institucionales de prestigio que le confieren el gobierno español y los teatros y festivales franceses con una importante producción de composiciones, incluida la ópera, y respaldada por numerosos encargos. y actuaciones.

La música de Luis de Pablo se caracteriza por una receptividad extrema, abierta a todas las formas de arte, europeas o no: una mirada estética que marca al compositor como una especie de «circunnavegador de las culturas» (José García del Busto), al mismo tiempo lejos desde cualquier forma de eclecticismo —Luis de Pablo siempre ha evitado utilizar instrumentos o escalas de otras culturas, prefiriendo recrear su gestualidad— gracias a su capacidad para integrar diversas influencias (no solo musicales, sino culturales en el sentido más amplio, fruto de extensas lecturas) dentro de un lenguaje individual inconfundible, fuertemente connotado en términos de instrumentación, armonía y estructura interválica.

En 2020, tras haber cumplido 90 años, Luis de Pablo recibió el León de Oro a la Trayectoria de la Bienal de Venecia con la siguiente motivación: «El León de Oro a la Trayectoria es el reconocimiento a la obra maestra del más grande compositor español vivo: Luis de Pablo. Un artista supremo que ha sabido catalizar las experiencias más significativas de los lenguajes contemporáneos en un lenguaje extremadamente personal, profundo y expresivo que encontró su salida preferida en los géneros “mixtos”. Su fértil destreza a menudo ha fusionado las experiencias de la música contemporánea occidental con las inquietudes de la música extraeuropea por la que el Maestro siempre ha tenido una predilección particular. Gran maestro y divulgador, también hay que reconocer a Luis de Pablo el haber traído a España, en una época política difícil, una poderosa idea de libertad de expresión no limitada al campo del arte ».
En febrero de 2022 se representará en el Teatro Real de Madrid el estreno mundial de El abrecartas, ópera en prólogo y seis escenas con libreto de Vicente Molina Foix basado en su novela homónima.

Symphony Orchestra of Euskadi

FIFTH MUSICAL OF SAN SEBASTIAN

SYMPHONY ORCHESTRA OF THE BASQUE COUNTRY

 

On Agust 24, 2019, at the Kursaal Auditorium in San Sebastian, the Euskadi Symphony Orchestra will perform the work Herzog Blaubarts Burg by Bale Bartok, edited by Universal Editional A.G.

 

The scary opera by Bartok that delves into what

darkest of the human being, is in turn a

of the most brilliant operas of the 20th century.

 

https://www.quincenamusical.eus/programa/evento/e/euskadiko-orkestra-sinfonikoa-andra-mari-abesbatza

 

 

CONCERT TRIBUTE TO JOAQUÍN RODRIGO

 

CONCERT TRIBUTE TO JOAQUÍN RODRIGO

 

On July 6, 2019, it will be 20 years since the death of Joaquín Rodrigo (1901-1999), a composer tho contributed so much to the guitar repertoire. Coinciding with that date, the Festival will dedicate a concert in which, in addition to the famous “Concierto de Aranjuez” will be performed works of two composers-guitarist of our time: Cañizares, flamenco guitarist, which presents almost in the first-afther its recent premire in Barcelona- his work ” Mediterranean Concert of Guitar and Orchetra the memory of Jaquin Rodrigo”, and Jose Maria Gallardo del Rey, who offers his particular tribute to the Aranjuez concert through the composition entitled “Diamantes para Aranjuez”

 

On the occasion of this tribute will be performed three fabulous works of our repertoire in an incomparable setting.

 

Fantasy for a gentleman……………………… ……………………..J. RODRIGO

Diamonds for Aranjuez……………………………………….J.M.GALLARDO DEL REY

Concert of Aranjuez.………………………………………………………….J. RODRIGO

 

https://guitarracordoba.es/eventos/concierto-homenaje-a-joaquin-rodrigo/#

El Gato Montes – L.A. Opera

 

Plácido Domingo stars in a Spanish classic of love, passion and death.

It has a love triangle, a bullfighter, a mountain dwelling bandit, and a beautiful woman (of course).  El Gato Montés (“The Wildcat”) weaves a quintessentially Spanish tale with all the passion, beautiful music, and choreography you’d expect. Never heard of it? You’re in for a treat because it’s considered one of the greatest masterpieces of the Spanish lyrical theater, and unlike Carmen, it’s actually sung in Spanish. This new-to-LA production comes straight from Madrid. Best of all, Plácido Domingo stars as the “Wildcat” himself, a rogue who returns after many years to reclaim the woman he loves.

Francisco Coll

For the first time this year, the ICMA has awarded a prize to a composer: the Composer award. For the first edition of this new category, the prize was awarded to the Spanish composer Francisco Coll (born in 1985, in Faber Music since 2011). Francisco Coll is the only student of Thomas Adès to date.

The International Music Classical Awards (ICMA) were created in 2010 by the jury of the former MIDEM Classical Awards. The jury is composed of music critics from 15 different countries, representing 18 printed or online magazines and radio stations. Andante (Turkey), Crescendo (Belgium), Das Orchester (Germany), Gramofon (Hungary), HRT Croatian Radiotelevision (Croatia), IMZ (Austria), MDR-Kultur (Germany), Music (Italy), Musical Life (Russia) , Musik & Theater (Switzerland), Opera (UK), Orpheus Radio (Russia), Pizzicato (Luxembourg), Polish Radio Chopin (Poland), Radio 100.7 (Luxembourg), ResMusica (France), Rondo Classic (Finland), Scherzo (Spain).

Here is the complete list of the ICMA 2019 Laureates: www.icma-info.com/winners-2019

The works of Francisco Coll for sale: http://www.fmdealers.com/SearchResults.aspx?search=Francisco+Coll&s=rel

Full presentation brochure: https://issuu.com/fm_fortissimo/docs/francisco_coll_brochure_e5fce66d3b7bc9

Your own website: www.franciscocoll.com

Rebecca Saunders

Rebecca Saunders: Ernst von Siemens Music Prize 2019

Edition Peters is pleased to announce that the Ernst von Siemens Music Prize 2019, considered the Nobel Prize for music, has been awarded to Rebecca Saunders (born in 1967, with Edition Peters since 1997). This prize is awarded each year to a composer, performer or conductor who has made a notable contribution to the world of music, with a prize of € 250,000. Saunders joins an illustrious list of laureates such as Benjamin Britten, Olivier Messiaen, Herbert von Karajan, Pierre Boulez, Andres Segovia, Yehudi Menuhin, Luciano Berio, György Ligeti, Henri Dutilleux.

Rebecca Saunders en la página web de Edition Peters: https://www.editionpeters.com/newsdetails.php?articleID=IN01233

The catalog of his works in Edition Peters: https://www.editionpeters.com/resources/0001/writers/pdf/Saunders_worklist_17_Jan_2019.pdf

Your own website: www.rebeccasaunders.net

The website of the Ernst von Siemens Music Prize: www.evs-musikstiftung.ch/en

To discover your music on SoundCloud: https://soundcloud.com/rebeccasaunders

Das Rheingold

Das Rheingold, marks the beginning of The Ring of the Nibelung, the colossal tetralogy of Richard Wagner and the second that the Royal Theater takes to its stage since its reopening in 1997. Pablo Heras-Casado, principal guest conductor of the Real, directs a cast with renowned Wagnerian singers such as Greer Grimsley, Sarah Connolly and Samuel Youn in a devastating production by Robert Carsen. The Canadian stage director places the prologue of the Ring in the rawness of our current contaminated world, where the characters of the cosmic conflict portrayed in the tetralogy unfold, that we will see complete throughout Written under the strict precepts of the Oper und Drama that the same Richard Wagner established, Das Rheingold – the first of the four operas that make up the tetralogy of The Ring of the Nibelung – seems more like a current drama than a remote fable. The composer already knew intuit the incompatibility between the laws of nature and those of human beings, and anticipated the consequences that would entail.

The production that now presents the Teatro Real puts us before a world in a state of siege, irreversibly contaminated, devastated by the avarice of power of the man who, trying to control his environment, has ended up headed to his own destruction. It is a world of blinded and gray people whose existence seems to lack any direction or meaning. The Rhine, in addition to housing the gold that will be stolen to make the magic ring (and cursed), becomes a sewer where the waste of a failed civilization ends. Das Rheingold is the perfect prelude to know the dynamics and conflicts that surround the characters of the tetralogy.

https://www.teatro-real.com/es/temporada-18-19/opera/das-rheingold?utm_source=MPC&utm_medium=cpc&utm_campaign=SEM_ES_EL_ORO_DEL_RIN_NOV30-ENE31&gclid=EAIaIQobChMIs47a4Y-G3wIVQrDtCh11zAeSEAAYASAAEgKJ8fD_BwE

Ernst Krenek

THE DICTATOR by Ernst Krenek (1900-1991) (premiere in Spain)

THE EMPEROR OF THE ATLÁNTIDA of Viktor Ullmann (1898-1944)

The Maestranza Theater premieres in Spain The dictator of Krenek with his own production directed by Rafael Rodríguez Villalobos (Seville, 1987), who has studied music and dramatic art. In 2013 he was the youngest European Opera Management Award to date. Pedro Halffter Caro directs the ROSS and Martin Gantner, Nicola Beller Carbone, Natalia Labourdette and Vicente Ombuena in the cast.

For its part, The Emperor of Atlantis is a grotesque portrait of the figure of a tyrant under which the caricature of Hitler is hidden. In the play, the tyrant forces humanity to consent to a ferocious massacre, while Death prevents the wounded from dying, which the critic valued as “the abdication of death in the face of the universal horrors of life.”

The work was composed by Ullmann -disciple of Schönberg and assistant to Zemlinsky in Prague, in the Terezin concentration camp in 1943 before leaving for Auschwitz, where he died, as the librettist, Peter Kien. Both breathed in the work of a creepy satirical and black current. Another prisoner, H.G. Adler, rescued the piece, which premiered in Amsterdam in 1975.

Now, and in a coproduction of the Teatro de la Maestranza, the Teatro Real de Madrid and the Palau de les Arts in Valencia, the conductor and composer Pedro Halffter Caro presented a new version for a large orchestra -initially a chamber piece- elaborated by him, who has also composed two pieces – based on works by Ullmann – for the triptych that makes up the prologue of the opera. For Halffter, “The Emperor …” is a “brilliant and beautiful” opera that represents the exercise of the freedom of art displayed “at the most extreme time and place”. For the stage director Gustavo Tambascio, who died in February 2018, The Emperor of Atlantis is a macabre satire, like a “gloomy cabaret” that denounces “the industrialization of death”. Along with the ROSS, they repeat in the cast Martin Gantner, Nicola Beller Carbone, Natalia Labourdette, and Vicente Ombuena.

https://www.teatrodelamaestranza.es/programacion/543_EL_DICTADOR_de_Ernst_Krenek_EL_EMPERADOR_DE_LA_ATL_NTIDA_de_Viktor_Ullmann.html

Carmina Burana

The original Carmina Burana is a collection of poems from the 12th and 13th centuries. Preserved in a single codex found in 1803 by Johann Christoph von Aretin in the Abbey of Benediktbeuern in Bavaria. It is currently kept in the Bavarian State Library in Munich.

The codex collects a total of 300 poems, written mostly in Latin, German and French. In these poems the pleasure to live and the interest for the earthly pleasures, for the carnal love and for the enjoyment of the nature is extolled. Therefore, with a critical and satirical look towards the social and ecclesiastical estates of the time.

Carl Orff composed his Carmina Burana between 1935 and 1936, and relied on 24 poems from the original codex. The original title of the work Carmina Burana: Cantiones profanæ cantoribus et choris cantandæ comitantibus instrumentis atque imaginibus magicis (Songs of Beuern: secular songs for singers and choirs to be sung with instruments and magical images) is the starting point of the show that La Fura dels Baus has created.

After 30 years of experience, Carlus Padrissa, a founding member of La Fura dels Baus, has conceived a thrilling CARMINA BURANA where the viewer, through stunning scenes, special effects and even spring fragrances, immerses himself fully in the universe of La Fura dels Baus.

On the stage, a large cylinder ten meters in diameter literally envelops the Orchestra, while images projected on it illustrate the entire work from beginning to end. A giant moon, the thaw, waterfalls, a floral ecstasy, a live harvest, wine, water and fire …. The CARMINA BURANA of LA FURA DELS BAUS is a sensory, musical and theatrical show, vital and energetic, which has already been seen by more than 200,000 spectators in Europe, Asia and America.

http://www.carmina-burana.es/gira